Preliminary List of Changes, New Pictures, New Topics, and New Research in Art History, 2nd Edition Revised, by Marilyn Stokstad

A note to users of the Second Edition of Art History

Most of the changes we made in the revised second edition of Art History were to illustrations. We added key works that reviewers requested, such as Bronzino's Allegory with Venus and Cupid, Caspar David Friedrich's Wanderer Above the Mists, and Courbet's The Stone Breakers . And we updated the chapter on contemporary art with several new works reflecting what is happening in art today. We also tried to obtain new images of works that had recently been cleaned or restored. In addition we replaced those images that reviewers had judged of poor reproduction quality or less-than excellent views with better images. Where we could, we enlarged the size of key works that had been difficult to read. And we also converted to color a significant number of works that were formerly in black and white.

All of the maps were redrawn, and the timelines were revised to more accurately reflect the historical events covered in the chapters. We dropped the Parallels charts at the end of each chapter because reviewers did not find the parallels helpful. If there is a demand from adopters, we may be able to make them available on our website.

We used the opportunity of a revised edition to make a few organizational changes that we believe improve the chronological flow and logic of the book and to indicate where new research has modified our interpretation of works of art. The following list includes the most important of these changes in text and illustrations.

Please note that this is a preliminary list of changes – it is possible that due to constraints of permission, some picture substitutions may be made before we go on press. Please contact your local Prentice Hall representative if you need more information.

Some organizational changes from 2/e to 2d rev. ed

In the chapter on Greek Art (Ch. 5) the discussion of the Canon of Polykleitos has been converted into a text box and positioned at the beginning of the section on the Mature Classical period so that it is closer to the discussion of freestanding sculpture in the Early Classical period.
We reorganized the chapter on Etruscan Art and Roman Art (Ch. 6) for better chronological sequence. Now the Roman Republic is a separate topic, and Augustan styles are treated under the Early Empire, along with architecture, the Roman city and home, and wall painting. Likewise, Imperial Rome is a separate topic encompassing Imperial architecture, mosaics, the urban plan, monumental sculpture and portrait sculpture.
We reorganized the chapter on Early Christian, Jewish, and Byzantine art (Ch. 7) so that the chapter opens with discussion of Early Judaism and Early Jewish Art followed by Early Christianity and Early Christian Art before moving on to Imperial Christian Architecture and Art. Thus it has been renamed Jewish, Early Christian, and Byzantine Art.
We modified the chapter on Islamic Art (Ch. 8) slightly so that the chapter ends with a section on the Ottoman Empire , which includes architecture and illuminated manuscripts and tugras. In addition, the chapter-opening essay has been rewritten, as has the introductory section on Islam and Early Islamic Society. The box on the Life of the Prophet Muhammad has been rewritten as Islam and the Prophet Muhammad. The discussion of the Congregational Mosque in Isfahan and the madrasa -mausolem-mosque complex in Cairo precede rather than follow discussion of the Alhambra for better chronological sequencing.

New Research, Topics, Modifications, and Illustrations – Chapter-by-Chapter List

In the Starter Kit, the formal elements are defined more precisely and diagrams are added for the color wheel and for the element of shape. The discussions of content, style, and medium have been fine tuned.
The Introduction continues to be organized around a series of questions, but the section on What Is Beauty? is replaced by a section on Nature or Art? which includes subsections on Styles of Representation and The Human Body as Idea and Ideal . The section What Is Art History? is reorganized and includes a subsection on Studying Art Formally and Contextually .
The chapter-opening essay for Prehistory and Prehistoric Art in Europe (Ch. 1) discusses and is illustrated by the Chauvet cave. There is also an additional view of Stonehenge (fig. 1-21).
There is a new diagram on the cone mosaic technique (fig. 2-6) in the chapter on Art of the Ancient Near East (Ch. 2). The Apadana of Arius and Xerxes (fig. 2-30) is now reproduced in color.
In the chapter on Egyptian Art (Ch. 3), the sculptural head of Sesostris II from the Metropolitan Museum of Art, New York, has been replaced by a better representation of this king in the Nelson-Atkins Museum of Art, Kansas City (fig. 3-21). A view of the ruins at Karnak (fig. 3-25) now supplements the plan of the Great Temple of Amun there. There is also a discussion of Egyptian landscape painting, illustrated by the Garden of Nebamun, from Nebamun's 18 th dynasty tomb in Thebes (fig. 3-44).
There is a new cutaway drawing of the so-called Treasury of Atreus beehive tomb in the chapter on Aegean Art (Ch. 4)
The three divisions of the Classical period in the chapter on Greek Art (Ch. 5) have been renamed Early Classical, Mature Classical, and Late Classical (instead of Transitional or Early Classical; Fifth-Century Classical; and Fourth-Century Classical). The technique box on Greek Painted Vases has been rewritten to more clearly explain the black-figure, red-figure, and white-ground techniques. A front view of the Dying Gallic Trumpeter (fig. 5-74) has been added to the back view, and the difficult-to-follow reconstruction drawing of the complete monument. We have substituted cleaned images of the following works: Polykleitos, Spear Bearer ; Apollo with Battling Lapiths and Centaurs (fig. 5-31); and Marshalls and Young Women (fig. 5-46). The Temple of Olympian Zeus (fig. 5-72); and Athena Attacking the Giants (fig. 5-76) are now in color.
A denarius with the relief portrait of Julius Caesar has been added to the discussion of Republican Sculpture in the chapter on Etruscan Art and Roman Art (Ch. 6). Still-life with Peaches from Herculaneum (fig. 6-35) replaces Still-Life with eggs from Pompeii in the discussion of wall painting. We have substituted cleaned images of the following works: Colosseum (fig. 6-44); Spoils from the Temple of Solomon , Jerusalem (fig. 6-57); Hadrian Hunting Boar and Sacrificing to Apollo (fig. 6-60). The Pont du Gard (fig. 6-23), the Colosseum, and the Young Flavian Woman (fig. 6-62) are now in color.
In the chapter on Jewish, Early Christian, and Byzantine Art (Ch. 7), we clarified the apparent contradiction between Jewish prohibition against worship of idols and the representation of figures in Jewish art. We also made many small corrections to the text box on the Iconography of the Life of Jesus. The exterior view of Hagia Sophia (fig. 7-22), and the page with Joshua Leading the Israelites, from the Joshua Roll (fig. 7-51), are now in color.
In the chapter on Islamic Art (Ch. 8), we rewrote the chapter-opening essay. We added illustrations of the exterior or the Dome of the Rock (fig. 8-2), the Great Mosque at Kairouan , Tunisia (fig. 8-7), have been added. The Macy jug from Iran (fig. 8-20) and a star Ushak style medallion rug from Anatolia (fig. 8-22) replace the ewer from Kashan and the garden carpet from central Persia .
In the chapter on Art of India before 1200 (Ch. 9) the architecture of the Indus Valley civilization is now illustrated by a view of the Great Bath in the citadel at Mohenjo-Daro (fig. 9-3). Also, the text box on Hinduism has been rewritten to identify the major Hindu gods and discuss their attributes.
A discussion and view of the Seated Guanyin in Bodhisattva (fig.10-20) has been added in the section on the Song dynasty in the chapter on Chinese Art before 1280 ( Ch. 10). The tomb model of a house from the Eastern Han dynasty is now in color (fig. 10-10).
In the chapter on Japanese Art before 1392 (Ch. 11), there is now an enlarged detail from Night Attack on the Sanjo Palace (fig. 11.17). The main compound of Byodu-in, Uji (fig. 11-12) is now in color.
A new discussion on the Glades culture in Key Marco, Florida , illustrated by a Pelican figurehead (fig. 12-23), has been added to the chapter on Art of the Americas before 1300 (Ch 12). The Pyramid at Chichen Itza (fig. 12-43) is now in color.
In the chapter on Art of Ancient Africa ( Ch. 13), a sculpture of a Horseman from Old Djenné, Mali (fig. 13-10), has been added to the discussion of Djenné.
In the chapter on Early Medieval Art in Europe (Ch. 14), we replaced the page with Lion, from the Gospel of Saint John, Gospel Book of Durrow, with page with Man, Gospel of Saint Matthew, Gospel Book of Durrow (fig. 14-4). We also added a detail showing Cats and Mice Playing with the Host , from the Chi Rho Iota page of the Book of Matthew in the Book of Kells (fig. 14-5) . In addition, we had redrawn, labeled, and enlarged the Plan of Saint Gall for easier viewing.
In the chapter on Romanesque Art (Ch. 15) a major discussion of the Cathedral of Saint James, Santiago de Compostela, replaces the opening discussion of the Abbey Church of Sainte-Foy, Conques. The discussion is illustrated by a view of the interior formerly in the Introduction and by a reconstruction drawing and plan and a view of the Portal of the Goldsmiths (figs. 15-2, 15-3, 15-4). Also, we explained more clearly the importance of Gislebertus.
In the chapter on Gothic Art (Ch. 16), dropped the text box on The Black Death because new scholarship plays down the influence of the Black Death on art. We have written a new text box on Church Furniture. We added an engraving of the façade of Saint Denis (fig. 16-3), a view of the exterior of Sainte Chapelle (fig. 16-29), a page from the Morgan Library Picture Bible annotated by Christian, Jewish and Muslim scribes (fig. 16-34) (to replace the page with Abraham, Sarah, and the Three Strangers ). We also added a discussion and view of the lantern tower, Ely Cathedral.(fig. 16-40) and a plan and choir view of Peter Parler's Church of the Holy Spirit, Schwäbisch Gmund (figs. 16-48, 16-49) (replaces Church of Saint Elizabeth, Marburg). In the section on Italy we added a view of the façade of Siena Cathedral (fig. 16-58). We have substituted cleaned images of the following works: Beau Dieu trumeau (fig. 16-22); Pucelle, pages from Book of Hours of Jeanne d'Evreux (fig. 16-35); Cimabue, Virgin and Child Enthroned (fig. 16-69) . Luis Borrassá's Virgin and Saint George (fig. 16-47) is now in color.
In the chapter on Early Renaissance Art in Europe ( Ch. 17) we revised the chapter-opening essay to reflect new research on the original ownership and therefore the iconography of Paolo Uccello's The Battle of San Romano. We added a view of the courtyard of the Palazzo Medici-Riccardi, Florence (fig. 17-39), to the discussion of Italian architecture and Lorenzo Ghiberti's Jacob and Esau panel, from Gates of Paradise (East Doors), Baptistry of San Giovanni, Florence (fig. 17-51), to the discussion of Italian sculpture. We have substituted a cleaned image of the following: Masaccio, Trinity with the Virgin, Saint John the Evangelist, and Donors (fig. 17-61) . Dirk Bouts's Wrongful Execution of the Count and Justice of Otto III (fig. 17-19), Brunelleschi's dome of Florence Cathedral (fig. 17-33), and Donatello's Feast of Herod (fig. 17-52) are now in color. And Jan van Eyck's Man in a Red Turban (fig. 17-13) is now reproduced with its original frame and motto.
In the chapter on Art in Sixteenth-Century Europe (Ch. 18), we replaced Leonardo's Last Supper with a contextual view that shows the painting within its architectural setting (fig. 18-2) as there is already a complete view of the Last Supper in the Introduction. We also added another contextual view of Raphael's Parnassus and School of Athens (fig. 18-6), and supplemented the contextual view of Michelangelo's Last Judgment with a complete view of that immense wall painting (fig. 18-46). We embellished the discussion of Bronzino by adding his Allegory with Venus and Cupid (fig. 18-54). We also replaced Sofonisba Anguissola's murky Child Bitten by a Crayfish with her exquisite miniature Self-Portrait (fig. 18-57). Bramante's Tempietto (fig. 18-19) and Cranach's Martin Luther as Junker Jörg (fig. 18-40) are now reproduced in color.
In the chapter on Baroque Art in Europe and North America ( Ch. 19) Claude Lorrain's Embarkation of the Queen of Sheba (fig. 19-27) replaces his Landscape with Merchants, and we have added Rembrandt's Anatomy Lesson of Dr. Tulp (fig. 19-53) . We have substituted a cleaned image of the following: Borromini, San Carlo alle Quattro Fontane (fig. 19-6). Salcedo's Our Lady of Guadalupe (fig. 19-41) and Mission San Xavier del Bac (fig. 19-42) are now in color.
In the chapter on the Art of India after 1200 ( Ch. 20) there is a new text box on the Luxury Arts, illustrated by an ivory panel from a Tamil box.
In the chapter on Chinese Art after 1280 ( Ch. 21) we added a blowup of a detail from Spring Dawn in the Han Palace (fig. 21-6). Shen Zhu's Poet on a Mountaintop (fig. 21-10) is now in color.
We added more material on the Japanese dry garden in the chapter on Japanese Art after 1392 ( Ch. 22). Bunsei's Landscape (fig. 22-2) and Nagasawa Rosetsu's Buill and Puppy (fig. 22-14) are now in color.
In the chapter on Art of the Americas since 1300 ( Ch. 23) we wrote a new text box on Craft or Art?
In the chapter on Art of Pacific Cultures ( Ch. 24) we replaced Mawalan Marika's The Wawalag Sister and the Rainbow Serpent with a richer treatment from the same myth, The Conference of Serpents by Mithinarri Gurruwiwi (fig. 24-3). We also added a Maori carved lintel (fig. 24-13) to the discussion of New Zealand .
We added a discussion of Living Areas, illustrated by a view of a Nankani compound in Sirigu, Ghana (fig. 25-2), in the chapter on Art of Africa in the Modern Era (Ch. 25). We also amplified the text box on African Furniture and Art Deco Style with a new illustration of Pierre Legrain's Art Deco tabouret to complement the Congo chair.
Strawberry Hill (fig. 26-26) is now reproduced in color.
In the chapter on Nineteenth-Century Art in Europe and the United States ( Ch. 27), we replaced David Friedrich Caspar's Monk by the Sea with his Wanderer Above the Mists (fig. 27-18) . We also added The Stone Breakers (fig. 27-48) to the discussion of Courbet. Eakins's The Gross Clinic (fig. 27-95) is now in color.
In the chapter on the Rise of Modernism in Europe and North American ( Ch. 28), we added a panel from Jacob Lawrence's Migration of the Negro series (fig. 28-79). Braque's Houses at L'Estaque (fig. 28-23) is now in color.
In the chapter on The International Avant-Garde since 1945 (Ch. 29) we added Daniel Libeskind's computer-generated design for the former World Trade Center site (fig. 29-56) to the discussion of Deconstructivist Architecture. We also replaced Miriam Shapiro's Heartfelt with her Personal Appearance (fig. 29-66). In addition , we added a section on Constructed Realities, illustrated by Jeff Wall's After the Invisible Man by Ralph Ellison, the Preface (fig. 29-86) and by Yasumasa Morimua's Self Portrait (Actress)/White Marilyn, moved here from the section on Return to the Body . We also wrote a new text box on Digital Art, illustrated by Jennifer Steinkamp's Jimmy Carter. Segal's The Diner (fig. 29-18) is now in color.